Later Years
Thon's last important commissions were the Nikolaevsky railway stations in Moscow and Saint Petersburg (1849–51). In his design for the stations the architect implemented some of the newest construction technologies. Despite large pieces of steelwork used in the construction, Venetian facades and medieval clock towers of the stations cleverly masked their modern function. Both structures, although extensively reconstructed, are still standing.
After the death of his patron, the Emperor, Thon's failing health prevented him from working on other projects apart from the great cathedral in Moscow. He died at St. Petersburg in 1881.
Even during his lifetime, the more radical of his contemporaries, such as Alexander Herzen, dismissed his architecture as "reactionary manifestation of the tyrant's rule". The Soviet authorities, labelling Thon's churches ugly chests of drawers, systematically destroyed as many of them as possible, including all his churches in St Petersburg and vicinity and the work of his life, the Cathedral of Christ the Saviour. The fall of the Soviet rule in 1991 brought about a renewed interest in the work of the Neo-Russian-Byzantine master.
Read more about this topic: Konstantin Thon
Famous quotes containing the word years:
“The years seemed to stretch before her like the land: spring, summer, autumn, winter, spring; always the same patient fields, the patient little trees, the patient lives; always the same yearning; the same pulling at the chainuntil the instinct to live had torn itself and bled and weakened for the last time, until the chain secured a dead woman, who might cautiously be released.”
—Willa Cather (18731947)
“It was almost two years ago, while awaiting the imminent birth of my second child, that I decided to start working part-time. This would have been unthinkable to me when I was younger. At twenty-five I should have worn a big red A on my chest; it would have stood for ambition, an ambition so brazen and burning that it would have reduced Hester Prynnes transgression to pale pink.”
—Anna Quindlen (20th century)